“When the entire system of higher education gives favored status to the smartest students, even average students are denied equal opportunities,” he writes. “If colleges were instead to be judged on what they added to each student’s talents and capacities, then applicants at every level of academic preparation might be equally valued.”

and none of the four bombs experienced a nuclear reaction upon impact, sparing the region and its hundreds of inhabitants from multiple nuclear blasts that would’ve dwarfed the explosion over Hiroshima. “Only a fortunate stroke of luck saved the Spanish population of the area from catastrophe,” a Soviet official said at the time.

well that’s good

But the conventional high explosives on two of the bombs did detonate, essentially turning those weapons into dirty bombs that blasted plutonium radiation across the countryside.

Local, regional, and state governments are removing the basic, infrastructural supports that are necessary for the reproduction of life. As a consequence, residents of cities like Flint and Detroit, in particular black and immigrant populations, have been subjected to increasing vulnerability in forms like declining life expectancy and appalling infant mortality. “Disposability” and “surplus population” sound like abstract concepts, but they’re a tangible, visceral reality for folks on the ground in Flint. “We’re like disposable people here,” one resident told the Toronto Star the other day. “We’re not even human here, I guess.”

* “Someone in Florida had made a second-mortgage loan to O.J. Simpson, and I just about blew my top, because there was this huge judgment against him from his wife’s parents,” she recalled. Simpson had been acquitted of killing his wife Nicole and her friend but was later found liable for their deaths in a civil lawsuit; that judgment took precedence over other debts, such as if Simpson defaulted on his WaMu loan.

Given that the Númenoreans ruined their civilization to the point that it was personally destroyed by God Himself, the Gondorrim probably shouldn’t have been so quick to crown a long-lived, pure-blooded Númenorean like Aragorn. They’d probably have been better off elevating Pippin Took to the throne. Hobbits at least dally with the good things in life: hearty food, heady ales, fireworks, and weed.

* Rolling Stone has retracted their UVA story, as well as a Columbia University Graduate School of Journalism detailing what went wrong. Reaction online has generally been that the Columbia report doesn’t go nearly far enough, and that RS is in total denial about the seriousness of what they did — though there’s speculation that RS‘s non-response is at least partially driven by the fact that the fraternity plans to sue.

* In short, ruin porn hides more than it shows. It creates the hyper-visibility of some elements of crisis, usually infrastructural damage and death, while simultaneously making others invisible, namely the social and political forces that engender uneven patterns–and origins–of damage and recovery.

Seeing this review of Unbreakable Kimmy Schmidt at the Los Angeles Review of Books hasinspired me to finally write up some somewhat idiosyncratic thoughts I’ve had about the series that I haven’t seen reflected anywhere else. (And thanks to the people who have indulged me about this on Twitter, especially @millicentsomer and @evankindley.) I definitely agree with the reviewer that Unbreakable Kimmy Schmidt is a “woman out of time” story, but I really think the interpretive emphasis on “Unfrozen Middle Schooler from the 1990s” should be on “middle schooler” rather than “from the 1990s.” My take is that the 1990s nostalgia is largely driven by the Millennial audience the show is pitching itself at — it’s an engine for jokes but not really the center of the project. “Unfrozen Middle Schooler,” in contrast, is the actual heart of Unbreakable Kimmy Schmidt, at leastthe way I want to read it as a feminist work.

One of the things I talked about with Lili and Evan on Twitter was whether Kimmy’s abduction is taken seriously as an event or if the bunker is taken seriously as an actual lived environment. Having completed the series now, I still don’t think so: I think “the bunker” essentially functions in the series like being in a coma, or being shot with a Grow-Up Beam, or making a wish to be Big. It’s a magic spell to get Kimmy from middle school to adulthood without having to go through high school and college, which is the source of her power in the series, from her refusal of the usual rules of society to her love of backpacks and bright, mismatched clothing. You can see this utopian imaginary working really clearly in the incredibly infectious theme song, where the removal of the girls from the bunker and a closeup on Kimmy’s ecstatic childlike grin over the lyrics “Unbreakable! They alive, damnit! It’s a miracle!” quickly gives way to a montage of nostalgic, home-video-style images of childhood (and specifically girlhood), which express the same unvarnished joy but also absolute self-confidence (thumb’s up), total mastery of their environment (the dancing, the hula hooping, the monkey bars), and maximum resilience in the face of adversity (the baby plopping down face first).

We return to the in-universe “autotune the news” frame only once during this thirty-second sequence, to be told that “females are strong as hell” — the clear implication to me being that we ought to draw an interpretive connection between the claim of female power and childhood, specifically, girlhood: before sex, before even puberty, before the male gaze, before pervert teachers and abusive boyfriends and quasi-consensual sexual encounters and ubiquitous street harassment and the too-familiar host of other abuses inflicted upon women from the moment they enter young adulthood. What the magic spell of the bunker allows Kimmy to do is pass over the moment in which girls are forcibly conscripted into becoming “women” (somewhat or entirely against their will) and emerge instead as an adult who has not internalized our society’s misogyny or its mean, psychosexual aggressivity. So much of what is delightful about Kimmy is precisely the fact that she has retained the aspirations, expectations, confidence, and general affect of a precocious middle-schooler without having had to temper or diminish herself through unhappy experiences with patriarchy. If the show has a moral or utopian message for women, it’s Let’s all go back to thinking about ourselves the way we did before society told us we were worthless, and it’s a pretty damn good one.

We’ve been working with children’s stories a lot in my “magic as literature” course this semester, and one of the oppositions we’ve really been focusing on (especially as we’ve studied Disney, and Frozen, recently) is the opposition between what mythographers call “the girl’s tragedy” and what we’ve been calling instead the utopia of childhood or (here more directly) the utopia of girlhood. The girl’s tragedy is the female answer to “the hero’s journey,” but the narrative doesn’t work the same way: instead of the boy hero who sets out from home, masters the outside world, slays the dragon, and then returns home to become king, the girl’s tragedy is a story about being ripped from safety and forced to accommodate oneself to the whims of adult men, particularly their sexual urges. The happy ending for the girl’s tragedy — the happiest one available — is that she accepts her role as wife and mother and gives birth to a male son who will then inaugurate the next cycle of heroism; girls and women who refuse to play the proper role are typically cast out of the realm of the human altogether, turned into animals or plants or stars or foam. The utopia of childhood describes those comparatively rare stories that are exceptions, where the girls are neither forced to become mothers nor punished, but allowed to remain what they were without transformation by instead bending the adult world to their will (as in Brave, or Moonrise Kingdom, or arguably Frozen, though in most of these the girl-heroes seem only to buying themselves time rather than enacting a full and permanent transformation of their circumstances).

Of course the utopia of childhood can itself be deeply retrograde, and is frequently misogynistic in its way — we spent a lot of time on “The Problem of Susan” in the Narnia books precisely so we didn’t fall too in love with the impossible fantasy of never growing up (when in the end we all have to). Nor can we safely imagine childhood in such uncomplicatedly rosy terms, both because childhood can also be a time of fierce frustration, competition, and intense pain even when it is not actively shattered through the cruelty and abuse of adults. But all the same there is something undeniably appealing about the idea of returning to a childhood that is both happy and which never gives way to something else, a desire that structures so much of our culture (particularly the middle-class culture of “good parenting”) that it really almost goes without saying. And in the case of Kimmy Schmidt‘s feminist politics of course the idea is not that women find some fantastical way to literally de-age themselves so much as they look to their younger, effortlessly capable and supremely confident selves as inspiration in the present.

There’s one more thing to say about Kimmy Schmidt, which is again about the abduction and the bunker, which would seem to be a rather large problem for my reading of the series. Isn’t Kimmy’s entire situation itself a literalized girl’s tragedy, insofar as she is abducted as a child and put into radical seclusion, all the while being fed obscenely misogynistic lies by a woman-hating male adult? Well, yes! The question of Kimmy’s abduction, and the horrific sexual violence it inevitably implies if thought about too much, is a pretty thorny one for the series: fixated on too much, it threatens to derail any potential for comedy in the show at all. (UPDATE: Someone just sent me Emily Nussbaum’s review, which talks a lot about this issue.) The series cleverly solves the problem by opening the door just a crack — “yes, there was weird sex stuff in the bunker” — and then simply leaving it there. Something happened — perhaps, as Evan suggested in what has become my headcanon, it was all between the girls and not involving the preacher at all — but it hasn’t changed Kimmy, or defeated her. And she emerges from Hell neither pregnant with the monster’s baby, nor transformed into a weeping plant or into sea-foam, but just as unflappable and unbreakable as she was when she went in.

And in any event the treatment of the bunker doesn’t really work the way the ten-second summary of the setup would suggest. The presence of the preacher is actually a further occasion for Kimmy to refuse to internalize her sexist training, precisely because it is now located within a single, odious man against whom she can fight. The button at the end of the first episode demonstrates precisely this: Kimmy proves he is lying to them, he says he’s going to break her someday, and she replies no, he never will. It’s easy to see why, in contrast to the microaggressions and little indignities — alongside the very big ones — that make up girls’ training to be women in our society, which is constantly delivered by parents and siblings and friends and trusted authority figures and widely celebrated mass culture texts, Kimmy’s more direct training in misogyny at the hands of the Reverend never really takes. In the bunker she had an obvious enemy, someone she could tell she was feeding her poison, and so she could reject it. It’s actually outside the bunker where the true brainwashing takes place, which is all the more insidious because it seems like education, like help, like love.

* But did you know the University of Wisconsin-Milwaukee gets less than half the public money per student that Madison Area Technical College gets and less than a third of what goes to Milwaukee Area Technical College?

* But what also became clear was that she and I have radically different visions of what constitutes the well-being of the University of Wisconsin System and how it might be preserved and protected. Through the course of our conversation it became increasingly clear to me that in the current situation in Wisconsin we find ourselves in what French philosopher Jean-François Lyotard called “a differend,” a case of conflict between parties that cannot be equitably resolved for lack of a rule of judgement applicable to both. In the case of a differend, the parties cannot agree on a rule or criterion by which their dispute might be decided. A differend is opposed to a litigation – a dispute which can be equitably resolved because the parties involved can agree on a rule of judgement.” Despite all parties–Regents, chancellors, faculty, staff, students, and alumni–being committed to the well-being of the University of Wisconsin System, it seems impossible to agree upon a rule of judgment or any set of criteria by which to adjudicate our different visions of what that well-being would look like.

* Over time, however, more and more departments failed to meet that standard; last year some 60 units were out of compliance, according to information gathered by the union. At Bridgewater State University, one of the worst offenders, for example, adjuncts taught more than 15 percent of courses in 16 large departments in 2014-15. Some 50 percent of classes in the English department were taught by part-time faculty, along with 40 percent in math and computer science. In philosophy, it was 63 percent of classes. Bridgewater officials did not respond to a request for comment.